Grounded in an analysis of the popular Netflix series Dahmer-Monster: The Jeffrey Dahmer Story, this chapter puts forward three ideas concerning the significance of the collective consumption of crime stories, especially those that hinge on retelling extreme and unusual events. First, they can be considered cinematic freak shows that perform for audiences the same functions that Rosemary Garland-Thomson (1997) discerned in the American “freak shows” of the nineteenth and twentieth centuries. By displaying “difference,” audiences are assured of their distance from abject bodies. Second, such texts constitute part of the ongoing cultural work that is needed to articulate and naturalize conceptions of normal subjectivity. In these respects, I suggest that Dahmer-Monster reveals something about the construction of normal subjectivity that is perhaps overlooked: it is a subject that accepts a hierarchical divide between “human” and “animal.” In the third section, the focus turns to how the cinematic freak show is embedded within, and reproduces, some broader socio-cultural contours.